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They are infected, in their hearts it lies;
They have the plague, and caught it of your eyes:
These lords are visited ; you are not free,
For the Lord's tokens on you do I fee.
Prin. No, they are free, that gave these tokens

to us. BIRON. Our ílates are forfcit, seek not to undo

Ros. It is not fo; For how can this be true,
That you stand forfeit, being those that fue ? 9
BIRON. Peace; for I will not have to do with

you. Ros. Nor shall not, if I do as I intend. Biron. Speak for yourselves, my wit is at an end.



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the metaphor finds the tokens likewise on the ladies. The tokens of the plague are the first spots or discolorations, by which the infection is known to be received. JOHNSON.

So, in Histriomastix, 1610 :

" It is as dangerous to read his name on a play-door, as a printed bill on a plague-door. Again, in The Whore of Babylon, 1607 :

“ Have tokens stamp'd on them to make them known,

aMore dreadful than the bills that preach the plaguc." Again, in More Fools Yet, a collection of Epigrams by R. S. 1610 :

" To declare the infection for his fin,

“ A crojje is set without, there's none within." Again, ibid :

" But by the way he saw and much respeded
" A doore belonging to a house infected,
" Whereon was plac'd ( as, 'tis the custom ftill)
The Lord have mercy on us: this sad bill
- The sot perus'd

So, in Sir Thomas Overbury's Characters, 1632 :

" Lord have mercy on us may well stand over their doors, for debt is a most dangerous city pestilence." MALONE.

how can this be true, That you stand forfeit, being those that sue; ] That is, how can those be liable to forfeiture that begin the process. The jest lies in the ambiguity of sue, which fignifics to prosecute by law, or to offer a petiiion. JOHNSON.


KING. Teach us, sweet madam, for our rude

transgression Some fair excuse. PRIN.

The fairelt is confession,
Were you not here, but even now, disguis'd?

KING. Madam, I was.

And were you well advis'd ?:
KING. I was, fair madam.



then were here, What did you whisper in your lady's ear? King. That more than all the world I did respect

her. Prin. When she shall challenge this, you will

reject her. KING. Upon mine honour, no. PRIN.

Peace, peace, forbear; Your oath once broke, you force not to forswear.'

King. Despise me, when I break this oath of inine.

Prin. I will; and therefore keep it:--Rosaline, What did the Ruffian whisper in your ear?

Ros. Madam, he swore, that he did hold me dear As precious eye-fight; and did value me Above this world: adding thereio, moreover, That he would wed me, or else die my

lover. Prin. God give thee joy of him! the noble lord Most honourably doth uphold his word.


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well advis'd?) i. e. a&ing with sufficient deliberation, So, in The Comedy of Errors:

My liege I am advis'd in what I say." STEEVENS. 3 you force not to forfwear. ) You force not is the same with you make no difficulty. This is a very juit observation. The crime which has been once committed, is committed again with less reludance. JOHNSON. So, in Warner's Albion's England, B. X. ch. 59: he forced not to hide how be did err. STLEVENS. dearia

King. What mean you madam? by my life, my

troth, I never swore this lady such an oath.

Ros. By heaven, you did; and to confirmitplain, You gave me this: but take it, fir, again.

KING. My faith, and this, the princess I did give; I knew her by this jewei op her sleeve.

Prin. Pardon, me, fir, this jewel did she wear; And lord Birón, I thank him, is

my What; will you have me, or your pearl again?

BIRON. Neither of either;? I remit both twain.I see the trick on't ;-Here was a consent, * (Knowing aforehand of our merrirent,) To dash it like a Christmas comedy: Some carry-tale, fome please-man, some flight

zany. Some mumble-news, fome trencher-knight, some

Dick, That smiles his cheek in years; and knows the



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3 Neither of either; } This seems to have been a common expresa fion in our auihor's time. It occurs in The London Prodigal, 1605, and other comedies. MALONE. 4

a consent, ] i. e. a conspiracy. So, in King Henry VI, Part I:

the stars
" That have consented to king Henry's death."

STLEVENS. zany, ] A zany is a buffoon, a merry Andrew, a gross mimic. So, in Marlton's Insatiate Countess, 1613 :

fung "To every seuerall zanie's instrument." Again, in Antonio's Revenge, 1602 :

Laughs them to scorn, as man doth busy apes,
ci When they will zany men.

- Some trencher-knight, ] See the following page :
! And stand between her back, bir, and the fire,
" Holding a trencher, '

- &c.



To make my lady laugh, when she's dispos’d, -
Told our intents before : which once disclos'd,


- Some Dick;

That smiles his cheek in years; ] Mr. Theobald says, he cannot for his heart, comprehend the meaning of this phrase. It was vot his heart but his head that stood in his way. In years, signifies, into wrinkles. So, in The Merchant of Venice :

" With mirth and laughier let old wrinkles come." See the note on that line But the Oxford editor was in the fame case, and so alters it to feers. WARBURTON.

Webster, in his Dutchess of Malfy, makes Castruchio declare of his lady: " She cannot endure merry company, for the says much laughing fills her too full of the wrinkle. FARMER. Again, in Lingua, or the Combat of the Tongue, &c. 1607:

" That light and quick, with wrinkled laughter painted." Again, in Twelfth Night: he doth smile his cheek into more lines than is in the new map," &c. STEEVENS.

The old copies read — in yeeres, Jeers, the present emendation, which I proposed some time ago, I have since observed, was made by Mr. Theobald. Dr. Warburton endeavours to support the old reading, by explaining years to mean wrinkles, which belong alike to laughter and old age. But allowing the word to be used in that licentious sense, surely our author would have written, not in, but into, years-i. e. into wrinkles, as in a passage quoted by Mr. Steevens from Twelfth-Night: "-- he does smile his cheek into more lines than is in the new map, &c. The change being only that of a single letter for another nearly resembling it, I have placed jeers (formerly spelt jeeres) in my text. The words - jeer, flout, and mock, were much more in use in our author's time than at present, În Othello, 1622, the former word is used exaâly as here:

“ And mark the jeers, the gibes, and notable fcoras,

" That dwell in every region of his face." Out-roaring Dick was a celebrated finger, who, with William Wimbars, is said by Henry Chetile, in his KIND HARTS DREAME, to have got twenty shillings a day by singing at Braintree fair, in Esex. Perhaps this itinerant droll was here in our author's thoughts. This circumstance adds some support to the emendation now made. From the following paflage in Sir John Oldcastle, 1600, it seems to have been a common term for a noisy swaggerer:

• O he, fir, he's a desperate 'Dick indeed;

" Bar him your house.
Again, in Kemp's Nine daies Wonder, &c. 4to. 1690;

“ A boy arm'd with a poking stick
" Will dare to challenge cutting Dick.

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The ladies did change favours; and then we,
Following the signs, woo'd but the sign of she,
Now, to our perjury to add more terror,
We are again forsworn; in will, and error.
Much upon this it is:--And might not you,

[Το BOYET. Forestal our sport, to make us thus untrue ? Do not you know my lady's foot by the squire, 9

And laugh upon the apple of her eye ?
And stand between her back, fir, and the fire,

Holding a trencher, jesting merrily?


Again, in The Epiflle Dedicatorie to Naibe's Have with you to Saffron Walden, 1596 : “ – nor Dick Swash, or Desperate Dick, that's such a terrible cutter at a chine of beef, and devoures more meat at ordinaries in discourîng of his fraies, and deep a&ing of his flashing and hewing, than would serve half a dozen brewers draymen. MALONE.

As the aptitude of my quotation from Twelfth Night is questioned, I shall defend it, and without much effort; for Mr. Malone himself must, on recolledion, allow that in, throughout the plays of Shakspeare, is often used for into. Thus, in K. Richard 111:

6. But first, I'll turn yon fellow in his grave." I really conceived this usage of the prepofition in, to have been too frequent to need exemplification. STEEVENS.

in will, and error. Much upon this it is: - And might not you, ] I believe this passage fhould be read thus:

in will and error.
Boyet. Much upon this it is.

Biron. And might not you, &c. Johnson.
In will, and error. i. e. first in will, and afterwards in error.

MUSGRAVE. by the squire, ] From Squierre, Fr h, a rule, or Square. The sense is nearly the same as that of the proverbial expression in our own language, he hath got the length of her foot; i. e. he hath humoured her so long that he can perfuade her to wbat hé pleases.

HEATH. Squire in our author's time was the common term for a rule. See Miniheu's Di&t. in v. The word occurs again in The Winter's Tale.



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